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Dress As a Marker of Identity Construction in Arab Women's Literature from the Diaspora Acta Scientiarum. Language and Culture ISSN: 1983-4675 ISSN: 1983-4683 [email protected] Universidade Estadual de Maringá Brasil Dress as a Marker of Identity Construction in Arab Women’s Literature from the Diaspora Joudeh, Amani Abu; Awad, Yousef Dress as a Marker of Identity Construction in Arab Women’s Literature from the Diaspora Acta Scientiarum. Language and Culture, vol. 41, no. 1, 2019 Universidade Estadual de Maringá, Brasil Available in: https://www.redalyc.org/articulo.oa?id=307460649007 DOI: https://doi.org/10.4025/actascilangcult.v41i1.42346 PDF generated from XML JATS4R by Redalyc Project academic non-profit, developed under the open access initiative Amani Abu Joudeh, et al. Dress as a Marker of Identity Construction in Arab Women’s Literature fro... Literatura Dress as a Marker of Identity Construction in Arab Women’s Literature from the Diaspora O ator de vestir-se como um marcador de construção de identidade na literatura das mulheres árabes da diáspora Amani Abu Joudeh DOI: https://doi.org/10.4025/actascilangcult.v41i1.42346 University of Jordan, Jordania Redalyc: https://www.redalyc.org/articulo.oa? id=307460649007 Yousef Awad University of Jordan, Jordania [email protected] Received: 11 April 2018 Accepted: 10 July 2018 Abstract: is paper argues that dress is not a mere choice an individual makes; rather, it metonymizes almost every aspect of one’s identity. rough a critical analysis of Arab British novelists Fadia Faqir’s (2014) Willow Trees Don’t Weep and Leila Aboulela’s (2010) Lyrics Alley, the paper accentuates the skillful employment of dress in these novels and highlights its different implications. It also brings to light the strong relationship between the main characters and their choice of dress. In addition, this study draws on different theories of dress as an interdisciplinary subject in sociology, psychology, and cultural studies. e paper cites textual evidence which focuses on the different implications of dress and shows how these authors have used dress deliberately to comment on important social and political issues in their homelands and/in diaspora. Furthermore, it concentrates on these sartorial episodes to show that the identity construction of the main characters in these novels intricately intertwines with socioeconomic, political, cultural, religious, and psychological circumstances. Keywords: Fadia Faqir, Leila Aboulela, diaspora, dress, identity construction. Resumo: Este artigo problematiza que o vestuário não é uma mera escolha que um indivíduo faz; em vez disso, metoniza quase todos os aspectos da sua identidade. Por meio de uma análise crítica dos romancistas britânicos árabes de Fadia Faqir (2014) Willow Trees Don´t Weep e de Leila Aboulela (2010) Lyrics Alley, o artigo acentua o hábil emprego do vestuário nesses romances e destaca suas diferentes implicações. Também traz à luz a forte relação entre os personagens principais e a escolha da vestimenta. Além disso, este estudo baseia-se em diferentes teorias de vestuário como um assunto interdisciplinar em sociologia, psicologia e estudos culturais. O artigo cita evidências textuais que enfocam as diferentes implicações do vestuário e mostra como esses autores usaram a vestimenta para comentar deliberadamente questões sociais e políticas importantes em suas pátrias e/ou na diáspora. Além disso, concentra-se nesses episódios de indumentária para mostrar que a construção identitária dos personagens principais desses romances intrinsecamente se entrelaça às circunstâncias socioeconômicas, políticas, culturais, religiosas e psicológicas. Palavras-chave: Fadia Faqir, Leila Aboulela, diáspora, vestimenta, construção de identidade. Introduction us in this one pregnant subject of clothes, rightly understood, is included all that men have thought, dreamed, done, and been: the whole External Universe and what it holds is but Clothing; and the essence of all Science lies in the philosophy of clothes (Carlyle, 1904, p. 91, griffin of the author). And so suggests renowned nineteenth century Scottish philosopher, translator and historian omas Carlyle (1904) in his novel Sartor Resartus. e novel is perceived to be a commentary on the thought and early life of a fictional German philosopher named Diogenes Teufelsdröckh who wrote a book entitled as Clothes: eir Origin and Influence. As the above quotation indicates, dress is one of the most important biographical aspects that is ubiquitous in almost every facet of one’s life. According to Teufelsdröckh, every PDF generated from XML JATS4R by Redalyc Project academic non-profit, developed under the open access initiative Acta Scientiarum, 2019, vol. 41, no. 1, ISSN: 1983-4675 1983-4683 single aspect of the external universe is manifested in the clothes of individuals. In this respect, dress is deemed as a useful communicative apparatus which provides significant clues of different facets of one’s personality and life. More specifically, in real life as well as in literary texts, dress reveals different definitive and informative aspects and hints of the identity of its wearer including social status, religious and political affiliations, gender, and profession among other issues. In literary texts, dress plays a crucial role in the construction of one’s identity and invokes a web of sociological, political, cultural, and psychological meanings. us, this paper examines the intriguing relationship between dress and identity in the works of Arab women writers in diaspora. is paper investigates how Arab British novelists Fadia Faqir’s (2014) Willow Trees Don’t Weep and Leila Aboulela’s (2010) Lyrics Alley skillfully employ dress in their novels and highlight its different psychological, socio- political and cultural implications. erefore, this study examines the extensive employment of dress and its strong relationship with identity construction on the part of the main characters in the two novels. It discusses how the characters resist the constraints imposed on them by others through the righteous and conscious choice of their dresses. So, this paper claims that the authors intentionally employ dress in their works to point out aesthetic and thematic ends and to comment on the glocal sociological, political, and cultural circumstances in their homelands and/or in the diaspora. In this way, Faqir and Aboulela provide important clues about their main characters’ psychological and socio-political concerns which can be reasonably speculated through their dress. rough the intermingling with their societies, the main characters in the two novels travel at least between two countries. In Willow Trees Don’t Weep, Najwa uses different types of dress to adjust her identity to the different cultural contexts she is exposed to while in search of her father Omar Rahman. Being the scapegoat of her father’s abandonment, Najwa initiates a journey in which she undergoes difficulties and disillusionments that, nonetheless, provide her with the chance to probe her identity, reflect on its multiple components and attempt to create a stable self out of the fragmented identities she has. Najwa’s journey would not have been completed successfully without the considerable and effective use of dress in different stages as the events unfold. Similarly, in Lyrics Alley, Aboulela sheds light on her main characters’ endeavors to grapple with the historic events that they witness on the eve of Sudan’s independence. e ways in which Mahmoud Bey, Nabilah, Soraya, Ustaz Badr and other characters dress up speak volumes in this novel about their positions on the nationalist, cultural and socio-political conditions and circumstances of their country. The semiotics of dress is study uses anthropologists Mary Ellen Roach-Higgins and Joanne B. Eicher’s (1992, p. 1) dress definition in their article Dress and Identity. According to Roach-Higgins and Eicher (1992, p. 1), dress of an individual is “[…] an assemblage of modifications of the body and/or supplements to the body”. Based on this definition, dress includes a wide array of body modifications such as “[…] coiffed hair, colored skin, pierced ears, and scented breath”, and a long list of different “[…] garments, jewelry, accessories” (Roach- Higgins & Eicher, 1992, p. 1), and other items added to the body as supplements. In her book e Language of Clothes, Alison Lurie (1981) argues that dress is a universal non-verbal language through which individuals first communicate with each other and deliver important information or misinformation. Lurie also believes that the language of dress has its special vocabulary and grammar: “[…] the vocabulary of dress includes not only items of clothing, but also hair styles, accessories, jewelry, make up and body decoration” (Lurie, 1981, p. 3). Dress has been studied across different disciplines. In his seminal book Fashion Classics om Carlyle to Barthes, Michael Carter surveys different opinions and theories by scholars on dress and fashion from the nineteenth century till the latter part of the twentieth century, including the works of sociologist Herbert Spencer and economist orenstein Veblen. ese thinkers, Carter asserts, view dress as “[…] a set of PDF generated from XML JATS4R by Redalyc Project academic non-profit, developed under the open access initiative Amani Abu Joudeh, et al. Dress as a Marker of Identity Construction in Arab Women’s Literature fro... rules and regulations governing the relations between the strong and the weak” (Carter, 2003, p. 28). In other words, the first function of dress among the upper class is to display to other society members their
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